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Autor:Banfield, Ann
Naslov:Time passes : Virginia Woolf, post-impressionism, and Cambridge time
Matična publikacija:Poetics today : international journal for theory and analysis of literature and communication / editor Meir Sternberg. - Vol. 24 (2003), No. 3; str. 471-516
Impresum:Durham, NC : Duke University Press
Napomena:Tema broja: Theory and history of narrative
Sažetak:Virginia Woolf's experiments begin with Impressionism. But knowing Roger Fry's criticism of Impressionism as analyzing commonsense appearances but destroying design, she adopted Fry's dualist aesthetic. Paul Cézanne's "Post-Impressionism" constructed a geometry in Impressionism's sensible world, combinning "vision" and "design". Literature's counterpart to the geometry of spatial relations were the temporal relations of Cambridge time philosophy. Contrary to a common assumption, Woolf adopted not Henri Bergson's philosophy but G. E. Moore and Bertrand Russell's realism. Time passes not as 'durée' but as a seires of still moments. Temporal relations connect moments as spatial ones unify Impressionism's atomized color, with the mathematical theory of continuity playing a crucial role. Woolf's literary imoresionism developed through short story esperiments, each a moment, an Impressionist canvas. "The mere expression of things adequately and sensitively, is not enough, "Woolf quotes Mansfield. As the painter transformed vision into design, Woolf turned story into novel via continuity of moments fhtough "the interlude". According to this hypothesis, "The window" and "The lighthouse" in 'To the lighthouse' are short stories uncannily reminiscent of Mansfield's "Prelude" and "At the bay". The interlude "Time passes" transforms story into novel by relationg past to future in a time-series, creating a post-impressionist "modern fiction."
Ključne riječi:naratologija - Woolf, Virginia
Vrsta građe:Članak
Knjižnica:Zbirka komparativne književnosti, http://www.knjiznice.ffzg.hr/komparativna

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